0:02

Six seven, eight one two

0:04

three five six seven

0:07

eight one two three four

0:09

and sup.

0:10

Now I'm in a dance studio

0:12

in Tallahassee, Florida. It's

0:15

summer twenty twenty two.

0:17

In front of me are about a dozen dancers.

0:19

They're in a last minute evening rehearsal. It

0:22

wasn't originally on the schedule, but there's a show

0:24

tomorrow and they have a lot to do before

0:27

then. Last

0:36

for My Heart podcasts and Rococo Punch.

0:39

This is the turning room of mirrors America

0:42

lants today

0:50

a day in the life of a dancer. It's

0:54

twenty seven hours to curtain, okay,

1:05

because.

1:05

It is better for the stage to be this way. So

1:08

you guys, this is pretty good, But

1:11

I actually need to go back to the

1:13

big lift at the top. You guys

1:15

need to be a wall. It's free

1:18

backs next to each other.

1:20

Dance Theater of Harlem is a touring company.

1:23

This means even though they're based in New York, they're

1:25

on the road for months at a time. I met

1:28

them here in Tallahassee. This

1:30

is not a memorable to our step. Nothing

1:32

out of the ordinary happens. In a

1:34

few months. They may have forgotten all of this. That

1:37

doesn't make it any less grueling. The

1:40

company split up this week. Half went

1:42

to Houston on tour and half came here to

1:44

Tallahassee.

1:45

That's it five six, seven

1:47

eight. They shift to perfect sixty

1:50

five six.

1:50

They scheduled a last minute evening rehearsal

1:52

the night before the show because with

1:54

all of these dancers missing, there are a lot of holes

1:57

to fill on stage. A bunch of dancers

1:59

need to learn new material fast.

2:01

I see, he's going to go when David went before.

2:04

Kennon's going to go when Dylan went before.

2:07

Okay, The artistic director of Virginia

2:09

Johnson leads rehearsal. She stands

2:11

at the front of the studio, her back to the mirror.

2:14

There's going to be a space.

2:15

It's still going to be a space.

2:16

Right now, they're reviewing the grand finale of the

2:19

show. Dancers entered with tricks

2:21

and fancy moves, one after the other. A

2:24

dancer named David has been promoted to a principal

2:26

role, so now his spot is empty.

2:29

So we need somebody to do double tour one.

2:31

Micah Micah

2:36

Bullard covers his eyes bashfully when he's handed

2:39

the new part Micah's twenty

2:41

four years old and one of the newer company members.

2:44

It's a second season with the dance leader of Harlem.

2:50

I remember walking into the dth

2:53

building and it

2:56

really felt like I was in

2:58

some fantasy book or something. Just seeing

3:01

all this melanin in ballet costumes.

3:04

I had literally never seen before.

3:07

I've never seen this many black people

3:09

doing ballet. Ever, it

3:11

felt like the Chronicles of Narnia. It felt

3:13

like walking through the wardrobe and seeing

3:15

like this magical land that existed

3:19

this entire time. It

3:21

was the first time I didn't feel

3:23

like the black one or

3:26

the black guy. I was just Micah

3:28

and I was an individual.

3:30

I felt like those you guys coming in

3:33

was good.

3:33

So it was really just this wing need to do again. Yeah,

3:36

okay, Micah

3:38

is in this elite ballet company, but

3:41

there have been times when he struggled with his confidence

3:43

in classical ballet. A couple

3:45

of times in the past teachers told him to consider

3:48

contemporary dance instead of ballet.

3:53

There was a point before all of this happened

3:55

where I just felt like I was

3:57

really free in my movement. I always used

3:59

to answer for me, and

4:02

then, you know, after

4:04

my Comptes was hit. All I would think

4:06

about was my lack of

4:08

turnout and all the skills I wasn't able to do.

4:11

So I would start hiding in the back.

4:13

I would start not doing certain combinations.

4:16

If I knew that it wasn't going to go well, I

4:18

would start second guessing myself. And

4:22

I was so scared that someone was going

4:24

to find out that I wasn't strong

4:26

enough to be where I was.

4:32

Just turned off.

4:38

In rehearsal. Today, Mica wears gray joggers

4:41

and a teeth, but his tall body,

4:43

elongated posture, and graceful limbs

4:46

make him look regal even when

4:48

he leans in the bar watching. He's

4:50

practicing multiple new parts for this show.

4:53

One is a lead role, making sure

4:55

that all the lifts and promenades

4:57

and everything are right.

4:59

That's all nerve working. But

5:02

I don't know. I think it will go well. I

5:05

just have to rehearse it.

5:08

You were turning your shoulders on that first thing. Should

5:10

everybody be turning their shoulders.

5:12

Another person adapting to last minute changes

5:15

is Crystal Serrano. Crystal

5:17

has a duet in the show. She's danced

5:19

to this Potada for six years, but her

5:21

normal partner isn't here, so

5:23

someone else has to learn the parts.

5:26

Well, this is my sixth partner.

5:29

The guy who dances it with her these days isn't

5:32

here in Tallahassee. He's in the group that

5:34

went to Houston. So now Quadio

5:36

Davis has to learn it.

5:38

So I have to more person.

5:40

The Quadio watched a video

5:42

of the dance to teach himself the steps. Tonight's

5:45

their first real rehearsal and they have

5:47

to perform it tomorrow six.

5:52

Six seven.

5:54

Crystal and Quadio run the Potada straight

5:57

through. It's from the first of three

5:59

ballets in the show. This one's

6:01

called Balamook.

6:03

So this whole pot we're like slingshotting

6:07

one another. We're doing

6:09

a push pull effect, so counteracting

6:12

each other, but somehow flinging each

6:15

other back into one another, kind

6:17

of like tango. And it's really playful

6:19

and sassy, and you

6:22

get really close and uncomfortable.

6:26

Miss Potado has a lot of spinning. Being

6:29

this close to the dancers, I realize how

6:31

acrobatic it is. It's different

6:33

than watching from the audience. I

6:35

can feel the floor bounce and rumble

6:37

as they move right away. I'm almost

6:40

hit by Crystal's leg when Quadio swings

6:42

her around him in a circle. Crystal

6:45

loves this stuff.

6:47

When I was fifteen, I had a director

6:49

call me the Daredevil because I would just fling myself

6:51

at the guy and they're like, be careful. Some

6:53

of them don't know, and I'm like, well, they're gonna

6:56

learn. I love being lifted.

6:58

I just absolutely love prindering. There's this trust

7:00

that you build with a person.

7:03

It's my favorite thing to do.

7:05

Of course, she knows it can be dangerous.

7:07

Especially with this pop because there's so much

7:10

thrown around. One wrong

7:13

move or like too much force, or like him

7:15

missing my arms and I'm already

7:17

jumping into his arms, it could go really

7:19

wrong.

7:20

Crystal's actually dancing on two sprains

7:22

right now. She got them from partnering.

7:26

The first time they run the dance, Crystal can hear

7:28

they're not with the music. Quadio's

7:30

rushing because I have done

7:33

it before.

7:33

I know the musical cues, but

7:36

as a male dancer, they usually

7:38

lead you. I had to

7:41

kind of like look at him or tell him whisper, like

7:43

slow down or stretch this out.

7:45

Things like that. He has a lot

7:47

to remember in this first run, and

7:49

Quadio, who's a big guy is

7:51

using a lot of force.

7:53

Have you ever been in the water and you kind of have water

7:55

up your nose. The first one, I feel like he spun

7:58

me so fast. I felt like

8:00

it was underwater. Air went on my nose.

8:02

I was like, oh my god.

8:03

Because he's so powerful, Crystal

8:07

can feel him think, can tell

8:09

he's thinking hard to get it right.

8:11

I tried to connect with him through his eyes

8:13

so he knows that I'm here. That's

8:16

my favorite thing about doing a PAP because

8:18

if you connect with that person, you kind of calm them down.

8:21

On both ends.

8:21

There's a little bit of a themeter that you're missing

8:23

in the beginning. So one

8:26

two three four one two three before you have the bitch

8:28

kick on this, it's a little bit too

8:30

late that you were doing that.

8:32

After that first run through, Artistic

8:34

director of Virginia Johnson walks them through the trouble

8:36

spots attitude.

8:38

Yeah, did I look here,

8:41

So that's a moment.

8:42

Yeah, I think I took a way. It

8:44

just was nervous.

8:46

Yeah, from the very

8:49

beginning, just for a little bit. When

8:52

you do this and you lean on him, then you have to

8:54

you have to counterbalance each other's weight. So that's

8:56

it's going to work really well with the two of you, but it's not

8:58

happening yet.

9:00

As the three of them talk, they use their bodies

9:02

to show what they mean. Crystal and Quadio

9:05

seamlessly step into complicated lifts

9:07

together. Let my arms stretch.

9:09

Yeah, like that, and then here,

9:12

give me a second, and then yeah,

9:17

this was really good. Why

9:21

I started dancing when I was five, I

9:23

didn't think that ballet was real.

9:27

I thought that it was something like being

9:29

a superhero or a unicorn

9:32

in something magical. Do

9:35

you know something that you hear about but it's

9:38

not attainable? And I

9:41

think of the music

9:43

box type of ballerina, this

9:46

beautiful image of a female

9:48

dancer in like a tu tuo and

9:51

she's just propped up on this pedestal.

9:55

It's always about a little girl

9:57

in a fantasy, that image.

9:59

Of how

10:05

does real life as a dancer compared

10:07

to this fairy tale, whimsical,

10:10

imagined creature that you

10:12

didn't even think was real.

10:14

There's so much hardship. But then,

10:16

honestly, when you're on that stage, you feel

10:19

that part when the curtain

10:21

rises and you're in this crown, in

10:23

this beautiful sparkling tuttu, you

10:27

feel like that mystical beauty

10:31

that you've always seen but

10:34

didn't think it was real. But you are that part

10:36

in your head, you know, and so it

10:39

becomes real. Yeah it is.

10:41

You are

10:44

there? Any questions? Are there any questions?

10:48

After a few hours, it's time to wrap

10:51

up for the night.

10:52

Thank you, dancers, Rest

10:54

well.

10:57

The dancer has been in a few more steps of practice

11:00

on their own, get dressed, check their

11:02

phones, and make their way to the bus

11:04

back to the hotel. Twenty

11:06

four hours to go. So

11:25

we are here at the theater today. It's the tech

11:28

rehearsal and they're going to run everything

11:30

with the lights and the music on stage.

11:33

See how the spacing is spacing is different

11:36

on the stage, and make sure

11:38

everyone knows all the steps. And

11:41

then tonight after rehearsal

11:45

is the.

11:45

Show two three, four

11:48

six seven.

11:49

The artistic director Virginia Johnson leads

11:51

a tech rehearsal on stage

11:54

seven and a half hours to curse six

11:56

seven.

11:59

Was that the same area? Yes?

12:03

Good, Okay, you've got about ten minutes. Okay,

12:05

thank you. The dancers

12:07

are the ones on stage, but there's a whole

12:09

team of people to make this show happen. Stage

12:12

managers, tech and lighting crew. To

12:15

start. Downstairs

12:17

is a maze of hallways. Someone

12:19

from the company has taped up laminated colored

12:22

arrows all over the place to tell you where to

12:24

go. A green arrow

12:26

for the green room, yellow arrow

12:28

for the stage, an arrow for the artistic

12:30

director's room, for catering,

12:33

for physical therapy. There's

12:35

also a room down here with a rolling hangar

12:38

cart full of costumes. Steam

12:40

billows out. One person steams

12:42

costumes while another sows a skirt.

12:47

YEP.

12:50

That's all I do.

12:54

Katie Freeman, the wardrobe supervisor,

12:57

sits the sewing machine like she lives in front

12:59

of it. She's been touring with the company

13:01

for years.

13:04

Okay, make sure everything's

13:06

steamed and repaired. They change

13:09

on stage, manage their

13:11

shoes. I make shoe paint

13:14

that matches everyone's skin tone.

13:16

She remixes the paint as their colors change

13:19

with the seasons or today. Because

13:21

some of the dancers spent a lot of time in the Florida

13:23

sun at the hotel, pool tech

13:27

rehearsal lasts hours, and by the end

13:30

I am exhausted just from standing around.

13:32

I can't imagine how the dancers feel.

13:35

They break it. Three for food, four

13:38

and a half hours to curtain. There's

13:40

a catered buffet. They grab stuffed

13:43

roasted red peppers on paper plates and

13:45

PLoP down in groups at plastic tables.

13:48

They're patching us at the very end of tour. So

13:51

we were a little more lively a

13:53

month ago.

13:55

Delaney Washington smiles even when

13:57

she complains she's one of the youngest

13:59

dancers in the company.

14:00

I'm the baby sothing like to make fun of

14:02

me.

14:03

She takes some celebracs for her herniated disks,

14:06

two of them in my lower back, So

14:09

what does that mean for you?

14:11

My toes just ache. My heels are

14:13

all red from the point she's digging into

14:15

them. My arches are cramping.

14:17

My keelies, yeah, my

14:20

caps are really tight. My

14:22

body needs a break. I

14:24

don't even know, like I cannot put on a point

14:26

too, but I have to in a few hours.

14:29

Because everyone hurts. A

14:31

lot of them have injuries of one kind or another.

14:34

They're only halfway through this tour, but

14:36

there's something they're all looking forward to.

14:39

We get to go home tomorrow, the

14:41

first week we'll have in New York since

14:44

April.

14:45

Yeah, two

14:47

months we've been going

14:49

back to New York for like sixty hours though, because.

14:56

It's just enough time to do laundry and

14:58

settle down, and then you have to leave again and repack.

15:02

The dancers walk back to the hotel and the

15:05

muggy Florida heat. They

15:07

have an hour there to kill a lot

15:09

of twenty minute power naps. They

15:11

return to the theater and sweats on

15:14

stage. They stretch quietly at portable

15:16

bars.

15:17

All right, Jensey, let's see again with our plas.

15:20

What you need for plea's too.

15:21

Jimmy's ground forward back side side. Then

15:24

they warm up again with another ballet

15:26

class. We'll just do.

15:28

One side and.

15:30

Balance. As

15:38

always, they start with slow PLA's,

15:40

big knee bends, deep stretches.

15:44

They glide their arms through basic positions.

15:46

It feels meditative this

15:48

exercise. The slow pliers are something

15:51

they do twice a day always. At

15:53

the beginning of class.

15:57

One person is skipping warm ups though. That's

16:00

Ingrid Silva is downstairs in the women's

16:02

dressing room. Yeah, it's not

16:05

every day you see someone in costume changing a diver.

16:07

Not every day at all, but that has been part

16:09

of my routine now for what's

16:13

six months?

16:14

Yeah? Healthy mm

16:17

m.

16:19

Her daughter Laura is a year and a half old.

16:23

Now we have to put the shorts.

16:28

Lumble.

16:31

Ingrid danced during her pregnancy and

16:33

after Laura was born, she warmed up at the bar

16:35

with Laura strapped to her chest. She

16:38

literally danced with you the whole class.

16:40

Yes, like from

16:42

inside my bailey to the outside

16:44

of it. And it's kind of cool. And

16:47

I think that's why she so connected you dance

16:50

and so connected you BALI, cause

16:54

she's been doing it for a long time now.

16:57

Laura tours with Ingrid. The

16:59

entire company helps watch her.

17:01

I mean I was nervous on going on

17:03

the stage because all I could think

17:05

about was her, Like, is she okay?

17:08

She happy?

17:09

She eating?

17:10

Like is anybody watching

17:12

her? What if she falls in? Things like

17:14

that? But I feel like now

17:16

it's more a's.

17:18

Even with a baby in toe. In the past

17:21

two days on tour with her, I've

17:23

never seen Ingrid anything but calm.

17:25

She has a sense of peace about her.

17:28

Yes. Yes, now

17:31

we're gonna put some makeup on, right, Santa

17:33

vite, Santa

17:37

okay, help mommy key.

17:40

Ingrid puts on eyeshadow, false

17:42

eyelashes, a bright red lip.

17:45

Laura sits on the table between her mother

17:48

and the mirror. She holds makeup brushes

17:50

and tiny fists and sweeps them across

17:52

her face, mimicking her mom.

17:55

Hap happy

17:58

baby.

18:00

If she'll become a ballerina, we don't know.

18:03

Oh my god, I feel I've swollen.

18:07

The other dancers finish the on stage warm

18:09

up and pile into the dressing room.

18:12

She quess for music.

18:18

I was gonna say nineties or.

18:21

Nineties.

18:22

Forty five minutes to curtain. The

18:25

room is busy, but calm

18:28

sure, they're getting ready for her performance. But

18:30

that's routine. They do this every night.

18:33

They sit at the dressing mirrors. Some

18:35

are topless or naked. They

18:37

take turns playing with Laura.

18:40

The four Crystal puts on the costume she'll

18:43

wear for the pata do with Quadio. She

18:45

sits on top of the dressing table. She

18:47

leans her face towards the mirror. She

18:50

starts the transformation into that music

18:52

box ballerina she pictured as a kid.

18:55

I just like to be really close so I can see every detail.

18:58

What are you doing right now?

18:59

I'm doing my ash, yeah,

19:02

making sure that I contour

19:05

and make my eyes look bigger than they are with

19:07

bright colors and shapes

19:10

and shading.

19:12

Back

19:15

back, back back

19:17

back.

19:19

And truition return.

19:22

Half hour, half hour,

19:25

thirty minutes to go. Wardrobe supervisor

19:27

Katie checks on everyone every day.

19:29

Siffer kisses me off.

19:32

Her apron holds needles, threads, scissors,

19:35

bobby pins, sharpies, and advil.

19:37

I have to sew some people into costumes. Yeah,

19:41

that's miss your earrings. I gotta put some butt glue

19:43

on the cheeks.

19:44

Keep everything in butt glue but

19:47

blue.

19:47

It's just awesome body adhesive that

19:50

like keeps everything in place.

19:53

Wow.

19:55

At eight minutes to curtain, some people still aren't

19:57

in costume d I

20:03

head to the stage. There's

20:05

a fog machine that they've started going, so it's

20:08

the stage is starting to get a little hazy, and you

20:10

can see the light

20:12

from the lights above sort of streaming down

20:15

in stripes, in like rays

20:17

through the haze, and

20:19

it smells like Halloween fog machines.

20:22

It's very otherworldly. I

20:26

walk on to the stage. The audience

20:28

doesn't know that behind the red velvet curtain

20:31

dancers are filtering in. They

20:34

stretch and chat, some sit

20:36

on the floor. Haities.

20:39

Here the wardrobe

20:41

person cutting some threads

20:43

off of MICA's costume they're going

20:45

to.

20:45

Do their curtain speech now and then we'll

20:48

get rolling.

20:49

Yes, okay, knock them dead.

20:52

Virginia reminds the dancers of the mood

20:55

of the opening scene.

20:56

You remember, you're on the ship in the middle of the ocean.

21:00

Your future depends on your happiness.

21:03

Make it happen, Make it happen,

21:07

and point your feet at the same time.

21:09

That forgets of winter bees.

21:11

So salta taka one two street.

21:13

Four Oh

21:18

together okay, marred.

21:22

Marred, Virginia says it means

21:24

shit in French dance, or speak for good

21:26

luck. In the final moments

21:28

before the curtain opens, they stand

21:30

in the center cluster that starts the piece.

21:33

One of them bounces, remembering steps.

21:36

She shakes her head to test the pins in her hair. One

21:39

of them makes the sign of the cross Ingrid

21:42

bends her knees slowly in place. Delaney

21:45

and Micah say something and laugh. Quadio

21:48

rubs his hands together. Crystal

21:50

stands completely still. One

21:53

by one they settle into position,

21:56

face forward, arms over your

21:59

chest, feet together, head

22:01

down. The

22:04

stage lights go down, the

22:07

curtain lifts. What

22:15

happens next is hard to describe.

22:18

I've heard this music many times by now

22:21

I've seen them practice these steps this

22:23

exact moment, but this

22:25

time is different. They

22:27

move in and out of lights that filter through

22:29

fog and change color over time. The

22:32

dancers cast long shadows. Their

22:35

costumes are red, orange, bright,

22:37

yellow, and green. Their movements

22:40

are silky fluid in a way I can

22:42

hardly believe in the blink

22:44

of an eye they might shift from this chaos

22:46

of each doing their own steps to

22:48

moving perfectly in unison, then

22:50

back into chaos. They spin

22:53

in and out of formations. The

22:56

fact that this all happens without words

22:59

makes it feel like ans. It's

23:02

beautiful. The

23:04

piece rubs up as it goes, and the lifts

23:06

and turns become more acrobatic. Quadio

23:09

swings Crystal around him, and they're potted to

23:11

like they practiced throughout

23:14

the evening. Dancers come on and off

23:16

stage, make their way to the basement

23:18

to change for the next number or rest.

23:20

It's organized chaos.

23:23

I hit Crystal by accident in the face with my

23:25

arm and I said, oh shit, Live.

23:28

Theater, Mike's

23:30

disappointed. After the first piece, I

23:33

messed up.

23:33

In the last section, I just started

23:36

getting like doing my old

23:38

part in so

23:40

at one point I was facing the wrong direction, but

23:44

I don't think it was too noticeable.

23:45

But I'm a huge perfectionist,

23:47

so I was like, dang it

23:49

the whole time.

23:50

Other parts actually went the

23:52

best it's gone. But all

23:54

I'm going to think about now is you messed up

23:56

that one part.

24:01

Then it's time to change for the next number. But

24:04

there's a problem.

24:13

A costume is missing and Delaney

24:16

has nothing to wear naked, though

24:19

they need Katie wardrobe Queen. Delaney

24:23

wraps a towel around herself and runs to the

24:25

wardrobe room. Soon Katie's

24:27

steaming a new leotard for her. No

24:30

longer naked, Delaney now pieces

24:32

backstage before the second piece, shaking

24:35

out her limbs.

24:36

This makes me a little nervous.

24:38

Last week was my first time doing this

24:40

piece, so thank you,

24:43

Alex. So

24:46

I still have those like it's still a little

24:49

new jenerous.

24:51

But she puts those aside for

24:53

the time of the final piece. The dancers

24:55

are tired, but I feel the energy rise,

24:58

like they're loosening up. One more

25:00

to go do my house, to have stand by house, out stand

25:02

by, warmers, outstand by, main curtain, out stand

25:04

by. Micah is excited. The

25:06

final piece is a high energy dance that

25:08

Dance Theater of Harlem performs constantly.

25:11

It's the crowd favorite.

25:12

People go crazy for it, and

25:15

Micah knows his friend David Wright has

25:18

his big role in this one.

25:19

Tonight the principal part for the first.

25:21

Time, David's first principal role.

25:24

And I had one rehearsal Friday and then one rehearsal

25:26

yesterday.

25:29

Warmers out and lights one go.

25:31

The dancers rev up and in the wings

25:34

they get goofy, hype each other up,

25:36

motion to each other from across the stage.

25:39

Main curtain out go, soundtrack

25:42

one and light's one point five go. This

25:45

last piece is called Return, choreographed

25:48

by Robert Garland, probably.

25:50

My favorite piece in the rep.

25:53

It's to James Brown music and

25:55

Aretha Franklin and it

25:58

uses you know, class bally

26:00

technique throughout, but it also

26:02

uses a lot of those social.

26:03

Dance movement that you'll see black

26:05

people do at clobes in the House on the Street,

26:08

and relating it to Valley influences.

26:11

Stephanie Lee as another dancer in the company.

26:13

You'll see the four female dancers do

26:15

this kind of funky move and then they

26:18

change it completely to the Dali version of it,

26:20

and then they change it back into the black version of it.

26:22

By the final movement, the guys are

26:24

dancing in the wings while they wait to enter. It

26:27

feels like a party. In the grand

26:30

finale, David takes the center

26:32

while everyone else dances around him. They

26:34

whisper encouragement to him while they dance.

26:37

They would just say, come on, David, you've got this, while

26:39

still trying to do their own choreography.

26:42

And then it's his big solo.

26:44

So then we were during the soul train

26:46

line. Really I'm just trying to remember.

26:48

The steps, and then David

26:50

makes a split second decision. He

26:53

starts to improvise.

26:54

She was doing flips.

26:56

He was surprising all of us because

26:58

he didn't do that during rehearsal.

27:00

Kind of in the moment, thought I'm going

27:02

to do this, and then

27:04

all of a sudden he did an ariel.

27:06

I did a side aeriel on

27:09

stage that I hadn't rehearse and

27:12

we didn't.

27:12

Fall, and we

27:14

were all like audibly like David,

27:19

yeah, it was it was great, and

27:20

he.

27:21

Tore it up.

27:29

They line up to bow all together.

27:31

Then in two's David takes

27:33

a final bow alone, his first

27:36

principal role Bow. After

27:38

the curtain finally lowers, David collapses.

27:41

He lies on his back, a huge

27:43

smile on his face. The other

27:45

dancers cluster around him and clap.

27:49

The show wasn't perfect, but they're going

27:52

out on a high. They'll get a

27:54

week off back in New York and then they'll

27:56

do it all again. They'll learn new

27:58

parts, have new injury, travel

28:00

to new cities and dance.

28:03

But good show tonight, dancers, and thank

28:05

you so much for making this happen.

28:07

It's been crazy,

28:10

really good work, really good work. And

28:12

guess what, Friday's

28:15

a day.

28:20

Definitely so

28:22

that travel same way. Thank

28:28

you, Thank you, n get out of your costumes. Thank

28:31

you. Good show.

29:03

The Turning is the production of Rococo Punch

29:05

and iHeart Podcasts. It's written

29:08

and produced by Alan Lance Lesser and

29:10

Me. Our story editor is

29:12

Emily Foreman. Mixing and sound

29:14

designed by James Trout. Jessica

29:17

Carisa is our assistant producer, Andrea

29:19

Assoage is our digital producer. Our

29:23

executive producers are John Paratti and

29:26

Jessica Alpert at Rococo Punch, at,

29:28

Katrina Norbel and Nikki Etoor at iHeart

29:30

Podcasts. For

29:33

photos and more, details on the series, follow

29:36

us on Instagram at Rococo Punch,

29:38

and you can reach out via email The

29:41

Turning at Rococo punch dot

29:43

com. I'm

29:45

Erica Lance. Thanks for listening.